Hugh Jackman: Back on Broadway

At 4:59 pm on Tuesday afternoon, I received a text message from my friend MrTylerMartins inviting me to the first preview of Hugh Jackman's one man show on Broadway.  How could I pass this up?   Tyler won the student lottery - first ticket drawn - two tickets for $32 each.   Fortunately, in this very busy week I just happened to be free for the evening.  Plus, it was an extra special treat to go with the very enthusiastic theatre-goer, Tyler.

I've been a big fan of Hugh's ever since I saw him in The Boy from Oz in 2004.  That year I also ushered at the Drama League Awards and I was the one to hand him his program and show him to his seat.  I swear could have died from swooning!   I like his movies fine, but his stage charisma is out of this world:  he's a looker, he's hot stuff in the steps department and he chirps like a bird.   His voice is warm and powerful.     When I heard that he would be putting on a one man show in San Francisco and then Toronto, I immediately starting wishing that he would get a Broadway run.  Voila!  Wish came true.   Apparently, it has been his wish and dream too. 

Even though he's a man's man, he grew up watching movie musicals on Saturday afternoons after rugby practice in Australia.  He was the star of the West End's Oklahoma! before he even made it to the role he's probably most known for at this point, "Wolverine" in The X Men.  

It's an old school fabulous show (my favorite) - big band on stage, singing/dancing girls, stories, chatting with the audience jokes and costume changes.  His act is like a combination of Liza and Bernadette with extra sparkle and possible was somewhat like the old shows that Sinatra and the gang used to put on in Vegas.   He combines show tunes, songs from movie musicals, a few standards and some very, very special elements that you'll have to experience for yourself.    The house was completely full and when Hugh took the stage, I have never heard a roar like that in the theatre at a first preview (even Patti's Gypsy and [TOS]).   People were screaming and cheering (flashes of the scenes of the concerts of the Beatles and Elvis popped into my head).   Between the stories and songs, I was simultaneously crying, laughing and experiencing chills - my heart strings tugged with his rendition of Soliloquy from Carousel and my face hurting from smiling over his "Luck Be a Lady" from Guys and Dolls.  I'm getting chills again just thinking about it.

The show lasted close to 2 and 1/2 hours with an intermission.  Hugh was all over the stage and even spent some time in the audience and speaking to audience members.   He was warm, welcoming, charming and so handsome - he had the entire audience eating out the palm of his hand.   One example of the fun:  Hugh was explaining that even though he's losing weight due to all of this dancing, he is in fact in the midst of weight training in order to regain the physicality of "Wolverine" for the next film shoot; a lady from the audience shouted, "Prove it!"  He shouted back: "If you show me yours, I'll show you mine!"     Of course, the audience went wild!

This was only the first preview so I cannot even imagine how off the hook this show will be by the time it opens on November 10th.  In fact, this could have been opening night, only without any celebrities.   I'll be back to see the show again on November 15th with my college roommate and Karigee and I'm already counting the hours until then:  approximately 463 hours!

After the show, Tyler and I couldn't resist watching the stage door scene (from across the street since it was impossible to get close otherwise).   Frankly, I had so much fun at the show, I just didn't want to leave!

What the stage door was like:





Pictures from the evening:

In the Heights, Marching Band Style

Thanks to Lin-Manuel Miranda's tweet, I found out that the Odessa High School Marching Band performed numbers from his 2008 Tony Award winning score of the musical In the Heights at the 2011 UIL Competition.   I spent four years in this competion back in the 1980s with the Kermit High School Marching Band - three years on French Horn and one year in the rifle corps.  While we didn't compete against Odessa High (we were 3A, they are 5A), we would see them perform.  I've always loved a marching band!   And congrats to Odessa High  - they earned their 73rd straight Division 1 rating at the UIL Marching Band Contest on Saturday, October 22 at Ratliff Stadium in Odessa.

Sister Act Nun Run!

The Broadway musical SISTER ACT  is getting in the act to support God's Love We Deliver (GLWD).  They are putting together a "Sister Act Nun Run Team" for GLWD's The Race to Deliver on Sunday, November 20, 2011 in Central Park.

SISTER ACT will be outfitting 500 runners joining their team with signature Nun Habits.  Additionally, SISTER ACT will be giving away loads of great prizes including free tickets to the show!

Click on this link to join "Sister Act Nun Run Team."  The team has set a goal of raising $15,000. 

The idea behind GLWD for delivering prepared meals was first conceived in 1985 by Hospice volunteer Ganga Stone when she delivered  food to Richard, a man living with AIDS but too ill to cook it himself.    In 1986, Ganga Sonte  and Jane Best co-founded GLWD and began delivering an average of 50 meals per week. By 2011, GWLD delivered over one million meals annually, for a grand total of 1,000,732 meals.  

The mission of God's Love We Deliver is to improve the health and well-being of men, women and children living with HIV/AIDS, cancer and other serious illnesses by alleviating hunger and malnutrition. They prepare and deliver nutritious, high-quality meals to people who, because of their illness, are unable to provide or prepare meals for themselves. They also provide illness-specific nutrition education and counseling to our clients, families, care providers and other service organizations.  All of GLWD's services are provided free of charge without regard to income.

SISTER ACT , based on the 1992 movie starring Whoopie Goldberg and Dame Maggie Smith, is playing at the Broadway Theatre and stars Patina Miller and Tony Winner Victoria Clark.   The musical boasts music by Oscar Winner Alan Menken and lyrics by Glenn Slater.  Tickets are available online:  via Telecharge.  

In 2009, the London production of SISTER ACT and the charity Barnardo's launched London's first ever Nun Run.  A thousand nuns running through London raised over £30,000.


London Sister Act Nun Run



Carole Demas at the Laurie Beechman

Last week I caught Carole Demas' act at The Laurie Beechman Theatre.   Chock full of pop hits and a few theatre songs, it was a delightful concert.  A veteran of stage and tv, Carole is all girlish charm, which she displays in number after number.   Beginning almost shyly, she builds wistfully and playfully before finishing with a bang.

The show was directed by Charles Repole.  Accompanying Carole were  music director Ian Herman on piano and Sean Harkness on accoustic guitar.    Mr. Herman showed off his talent as a composer by playing his composition "Too Fast," which was great fun. 

Known particularly for her role as the original Sandy in Grease, the first big highlight of the evening was "Summer Nights."  Joining her on stage for this absolutely fun number were Paula Janis (TV’s The Magic Garden), Ilene Kristen (original cast of Henry Sweet Henry!) and Broadway’s Josh Franklin ("Danny" in the most recent Broadway production of Grease).   It was the cherry on top this already sweet show.  

Carole is also known in the New York area for the locally produced children's show The Magic Garden, which aired from 1972 to 1984.  Her co-star Paula Janis joined her on stage to perform the theme song, "The Hello Song."  It was obviously a favorite of many fans in the room and it made me wish that I had seen this show as a kid.  

The most thrilling performance of the evening was Carole's rendition of Stephen Schwartz' "Meadowlark" from The Baker's Wife.  Carole was in the original production of The Baker's Wife in Los Angeles.   She said that the show's producer, the infamous David Merrick "never could make up his mind about that song, which he called 'that damn bird song.'"    Carole was nothing short of spectacular on this number.   As she belted this 11 o'clock number, she completely transported the entire room on to that balcony in which the character "Genevieve" sings this song.   If she had sung nothing else all evening, this would have been enough.  

I'd easily accept another invitation to see Carole perform.   You can catch her tonight at Forgotten Musicals at the New York Library for the Perofrming Arts at Lincoln Center.  She's also guest starring in a number of New York shows over the next few weeks - check out her website calendar for more information.

Broadway Originals at Town Hall

The Radio Ladies - photo by Stephen Sorokoff

On Sunday, Kevin and I went to the annual Broadway Originals concert at Town Hall.   This was my third time to attend this great show, which offers up a wide variety of styles and genre from the performers who sang them first in Broadway shows over the years.  It's also the opportunity to hear stories, most of which are quite hysterical, from their days on the boards.

As expected, this year's show offered many gems.  I was especially touched by Jeanine Tesori's performance.  The composer of Caroline, or Change,  accompanied the original "Radio Ladies" on "Salty Tears."  The Radio Ladies were Marva Hicks, Vanessa A. Jones, and Ramona Keller.  She dedicated their performance to the late Alice Playten, who played the grandmother in that show.  I was also partial to the performances: Ben Davis and Jesus Garcia sang "Mimi tu piu" from Baz Luhrmann's La Boheme; Andrea Frierson  sang "The Human Heart" from Once On This Island; Marianne Tatum (whom Kevin and I met at the Broadway Flea Market - she understudied Constance Towers and Angela Lansbury in The King and I!) sang from "Love Makes Such Fools of Us All" from Barnum and "L'Amour Toujours-L'Amour" from The Three Muskateers (and shared a really funny story about Glenn Close always looking for her "motivation" in the show);and the youngest female performer to win a Tony,  Daisey Egan who sang "The Girl I Mean to Be" from The Secret Garden.

Also performing were Tony nominee Lorraine Serabian (Zorba!), Sarah Uriate Berry (Taboo), Marianne Tatum (Barnum),Tony winner Yvonne Constant (La Plume de Ma Tante – 1958), Bob Stillman (Grey Gardens), Alexander Gemignani (Le Miz), Marilyn Michaels (Catskill’s on Broadway), and The Manhattan Rhythm Kings (Crazy for You).  Scott Coulter was the director and John Fischer was the musical director.   Marilyn Michaels did almost a 20 minute version of Ella Fitzgerald's "Manhattan" in the voices of everyone from Streisand to Joan Rivers to Judy Garland as well as an abridged Wizard of Oz, complete with the voices of most of the characters.  It was bizarre but pretty fabulous. 

The absolute highlight of the day was the woman who ran away with the whole show: two time Tony Winner Tammy Grimes.   Before she even said a word, the audience was roaring with approval at her entrance, which was aided by a walker.  She said the only exciting new part she's been offered lately was her new knee.   With her remarkable voice that sounds much as it always has, Tammy performed three tunes from the The Unsinkable Molly Brown:  "My Own Brass Bed," "I'll Never Say No," and "I Ain't Down Yet."   As a tribute to her co-star, she sang "I'll Never Say No," which was sung by Harve Presnell in the show.  Mr. Pressnell passed away in 2009.  She said, "I always thought I'd see him one more time."   I was hoping that she'd include something from High Spirits, but hopefully that just means she'll share it at next year's Broadway Originals concert.



Marianne Tatum - photo Stephen Sorokoff



Tonight: Carole Demas at the Laurie Beechman

Carole Demas was the original "Sandy" in the 1972 Broadway production of Grease.  Other notable roles were as the original "Baker's Wife" in Stephen Schwartz The Baker's Wife and played "Luisa" in The Fantasticks for two years.  She has since appeared on television, regional theatre, and Broadway concerts, including last year's Broadway Originals at Town Hall, which I was lucky enough to see.   Tonight, I'm seeing Carole perform her cabaret act at The Laurie Beechman Theatre.  

Carole's cabaret act is Summer Nights and she will sing songs from the American Songbook, Broadway, Pop, and Rock.  Summer Nights features performances by music director Ian Herman (piano), Sean Harkness (guitar) and special guests Paula Janis (TV’s The Magic Garden), TV’s Ilene Kristen and Broadway’s Josh Franklin.  The show is directed by Charles Repole.

Carole's Summer Night begins at 7:00 pm tonight at The Laurie Beechman Theatre (407 West 42nd Street @ Ninth Avenue, NYC) Tickets are $25 (plus $15 minimum); available at 212-695-6909 or http://www.beechmantheatre.com/

Happy Birthday to Angela Lansbury!

Happy 86th Birthday Angie!  Hopefully we'll hear soon that you'll be back on Broadway where we need you!

Kate, Alex and Paul give their regards to Broadway at the Manhattan School of Music

I'm still thinking about last Monday's concert at the Manhattan School of Music.  It brought together two of my favorite singers Kate Baldwin and Alex Gemignani with a legend of Broadway - Paul Gemignani.    Also featured in the concert were Tedd Firth on piano and Larry Lelli on drums.

Yes, Paul Gemignani is Alex's dad - but it's not every day you get to hear son accompanied by magnificent orchestra under the direction of dad. Paul Gemignani has been the musical director for over 35 Broadway productions, including  13 Broadway productions of Sondheim shows and often conducts for special Sondheim concerts.  Mr. Gemignani has also served as conductor for many filmed  Broadway events and even the 2007 film of Sweeney Todd.   My favorite story from Mr. Gemignani is from when he was conducting the original production of Sweeney Todd  on Broadway:  "By the first preview I had the score memorized, so I put a big piece of white paper on my music stand so the television backstage could pick me up cause they were taking ques off of me.  The first time Len (Cariou as "Sweeney") slit a throat, a great big blob of stage blood came and went pouf right on the white paper and [made a big red stain].  I left it there the whole time just to hear people go by and go 'Ew no, look at that!"

Mr. Gemignani opened the concert with a few words of introduction, saying that the set list was not included in the program on purpose.   He noted that they would perform songs that were chosen by all of them - Kate, Alex, Tedd, Larry and himself - which were songs that they had always wanted to perform.    They chose pieces are among the best of Broadway's golden age.   He also gave a brief but impassioned lecture about the importance of the young orchestra learning to play this music of the American theatre, since it was "Our music.  We invented it."

Before we the concert, our only hint of what the evening would bring was from Kate Baldwin herself.  She told us, "So. Many. Overtures."   She was write of course, but I think she also knew that she was about to blow our musical theatre nerd minds.    Oh, she's a sly one alright.  Truth be told, Kate is a bit of a musical theatre nerd herself so I'm sure this concert was no busman's holiday for her.

Interspersed with some of the greatest overtures ever, from South Pacific, Oklahoma, Fiorello! (I thought Kevin might have a coronary on this one), Funny Girl, Gypsy, and the "Sondheim Birthday Overture," (orchestrated by Paul Gemignani and Jonathan Tunick) were songs performed by Kate and Alex that fueled our hopes that we were getting a glimpse into the future.   With every new song, Kevin, Tyler, and I gasped exuberantly with anticipation and satisfaction.

I always love hearing Alexander Gemignani perform.  For this evening, he was billed as a lyric baritone.   I have seen him on the New York stage many times - Assassins, Sweeney Todd, A Little Night Music, Road Show, The People in the Picture and at special Sondheim concert events.   Alex is a pleasant performer, always sharing his beautiful voice with a twinkle in his eye.  I always get the idea that he really loves being on that stage.   I love his rendition of "Something's Coming" from West Side Story  - I heard him sing it at last year's Sondheim Birthday Concert and was thrilled to hear it live again.   He also delightfully delivered the fun on "Where is the Life That Laid I Led" from Kiss Me Kate and the rare gem "Rumble Rumble Rumble" by Frank Loesser that also featured some absolutely raucous piano playing by Tedd Firth.

My love for Kate's talent continues to grow and it's no secret that she was my main reason for attending this performance.   She's incredibly versatile - she can bring the sweet and sublime as well as the sultry or even the cold.   Every time she performed another number, I couldn't help but thinking, hoping and even wishing that she would some day play some of  these characters behind these songs in full productions.  On this particular evening, she sang "Rose" from Gypsy, "Phyllis" and "Sally" from Follies, "Amalia" from She Loves Me, "Babe" from The Pajama Game, "Julie" from Carousel, "Cinderella" from Into the Woods, and Thea LaGuardia from Fiorello!  What a thrill to witness this range of vocal interpretation from Ms. Baldwin.


The magnificent orchestra is the Manhattan School of Music Chamber Sinfonia, comprised of Manhattan School of Music students.    Not only are they terrific, it's exciting to see them actually smiling when they take their bows, unlike the older and seemingly jaded professionals I'm used to seeing at Lincoln Center.    It was a true delight to hear this large orchestra play the original magnificent orchestrations of all of these songs.  It was 90 minutes of musical theatre heaven.

The Set List:

South Pacific Overture

Oklahoma Overture

Oh What a Beautiful Morning - Alex

What's the Use of Wonderin' - Kate

Fiorello Overture

When Did I Fall In Love - Kate

Where is the Life That Laid I Led - Alex

Funny Girl Overture

A New Town is a Blue Town - Alex

Hey There - Kate

Gypsy Overture

Everything's Coming Up Roses - Kate

Together - Kate & Alex

Something's Coming - Alex

Sondheim Overture

Giants in the Sky - Alex

On the Steps of the Palace - Kate

I Want to Be with You - Kate & Alex

Could I Leave You - Kate

Rumble Rumble Rumble - Alex

Will He Like Me - Kate

There Once Was a Man - Kate & Alex

Too Many Mornings - Kate & Alex

Photos by Brian Hatton

Photos by Brian Hatton

Photos by Brian Hatton

Photos by Brian Hatton

Bernadette Peters: The Christmas Ornament!

Yes!  Broadway Cares has finally unveiled it's latest in its collection of Broadway Legends Christmas ornaments.  First there was Angela Lansbury as "Mame," then Chita Rivera as "Anita," and last year was Carol Channing as "Dolly."   This year, just as I've been hoping and speculating, it's Bernadette Peters as "Dot" from Sunday in the Park with George!

Sunday in the Park with George is the 1984 musical with music and lyrics by Stephen Sondheim and book by James Lapine.  It opened off-Broadway at Playwrights Horizons starring Bernadette Peters as Dot and Mandy Patinkin as George.   It's the story of the French painter Georges Seurat and his mistress centered around his painting "A Sunday Afternoon on the Island of La Grande Jatte."   The show transfered to Broadway in 1985 and won the Pulitzer Prize for Drama.   It was filmed for television and is available on DVD.   It features one of the most glorious and inspirational songs ever written, Move On, which was performed by Bernadette in the show.  Bernadette thrills audiences by closing her own concerts with this anthem.

Because I always "need a little Christmas right now," I display these ornaments all year round.

Broadway Cares/Equity Fights Aides (BCEFA) is an amazing organization that funds numerous causes for actors and performers in the arts.   "Shop for the Cause" is just a tiny way of how they raise money for HIV/AIDS assistance and cure research, BroadwayBarks, and programs of the Actors' Fund, including The HIV/AIDS Initiative, The Phyllis Newman Women’s Health Initiative, The Al Hirschfeld Free Health Clinic, The Actors Fund Work Program, The Dancers’ Resource, The Stage Managers’ Project and three supportive housing residences.  BC/EFA also awards annual grants to more than 400 AIDS and family service organizations nationwide.

To purchase, go to www.broadwaycares.org, then to the Online Store, Holiday tabs.  The cost is $55 each and shipping will begin after November 1st.

Nabucco at the Met Opera

The 2011/12 season at the Metropolitan Opera began on September 26th with the new production of Anna Bolena.  Despite my anticipation of the new season, I didn't make it to the house for an opera until Tuesday night.  Thanks to Sally's willingness and availability to stand on line for 4 hours for $20 rush orchestra tickets provided by the generosity of the late, great Agnes Varis,  I finally started the season and it could not have been a better choice.

We saw Verdi's Nabucco, starring Zeljko Lucic, Maria Guleghina, Renee Tatum, Carlo Colmbara, David Crawford, Younghoon Lee, Hugo Vera and Amber Wagner.  

We have been fans of Maria Guleghina and Zeljko Lucic since we saw them in Macbeth several seasons ago.   They are fierce, Verdian singers.  Their powerful voices soar above the orchestra and the chorus.   They have a bad ass presence on stage.  

The opera is set in Israel and Babylon.   Nabucco, played by Lucic, is the King of Babylon and has attacked Israel.   Nabucco has two daughters, Abigaille played by Guleghina  and Fenena played by Tatum.  Abigaille is one of the leaders in Nabucco's army, while Fenena is sort of the more delicate daughter.   They are both in love with an Israelite, Ismaele, played by Lee.  

In typical Verdian grand opera style:  star crossed lover problems, people trying to take the power (Nabucco declares that he is the one to be worshipped instead of the Israeli God and his own god Baal), a discovered true identity by Abigaille that she is really the daughter of slaves, madness and finally a poisoning.   The production, which first opened in 2001, also starring Guleghina, was excellent.  The set was amazing.   It was on a turntable which opened as a Hebrew temple that was actually set on fire - real flames on stage!   It rotated 180 degrees to the Babylonian's Temple of Baal.  

The Met Chorus once again thrilled the audience.    After they sang "Va, pensiero,"  the audience applauded endlessly.     (See video below - there's no information on when this was filmed and I don't think it's it's the current Met chorus, but nevertheless you get the idea of what it felt like to be there surrounded by that glorious sound.)

At the end of the opening act, Maria Guleghina was all the way across the stage, on the other side of where we were sitting.  Her voice was so loud, it could be clearly heard over the other principals, the chorus (at least 75 strong), and the orchestra.  It was gorgeous and THRILLING!

In the final scene, there was a peasant who stood out on the edge of the stage directly in front of us.  Her voice could be clearly heard.  I was dying from the beauty of it and all I could think was that this woman needed to get out of the chorus!   Sally realized that she was in fact Amber Wagner.  I hadn't noticed her previously as part of the cast - she's playing the sister of one of the priests.  But in these final moments she really stood out.  What a voice!    We have known of her because of the film The Audition, in which she was one of the National Counsel audition winners. This is her debut at the Met and I can't wait to hear that voice agian. 

The costumes of the peasants were the only strange factor of the production - they looked half Russian peasant and half prairie women.   It's set in the 6th century B.C.E. of Jerusalem and Babylon.  Perhaps styles haven't changed that much over the century.  

Betty Buckley takes on the Men of Broadway

Betty Buckley is taking on the men of Broadway.  That is, she's singing the songs performed by men and showing 'em how it's done in her new cabaret "Ah Men! The Boys of Broadway" at Feinstein's at the Regency through October 29, 2011.

Joining Betty on stage are Christian Jacob at the piano, Anthony Pinciotti on Drums and Peter Barshay on bass.   Betty can sing any style, but I have say that's it's extra fun when it's swinging, jazzy night.  With this trio, the room was hopping.   To me, it's a perfect throw back to the great girl singers and Betty is great at continuing this legacy.  

Betty collaborated with musical director Eric Stern to create the evening.  In addition to accompanying Betty, Christian Jacob also lent his talent to arranging several of the songs, including "Come Back to Me" and "Hey There," two of the most sultry renditions of the evening.   She peppers the evening by sharing her own stories of some of these shows that she's been in or has always loved.  Betty has a wonderfully dry delivery so she kept us stitches, especially when she sang the tongue in cheek tune written especially for her and this gig by Eric Stern and Eric Kornfeld, called "A Hymn to Her."  It's almost a lament of the lack of strong roles for women, but it's too funny to be bitchy or even maudlin about the sad truth. 

Betty opened with "I Can See It" from The Fantasticks - I remember her saying in a previous show a few years ago that she always wanted to play "El Gallo" - it was fun to see her finally get this chance to at least sing one of his song.    Her voice was so good and strong on this opening number that it was clear that we were in for a fabulous evening.  

It's not all songs of Broadway - she throws in a few songs that were in the movie musicals that shaped her as a performer as well. Betty prefaces the show with professing her love for men and an teen obsession that began with West Side Story and her desire to be a "Jet." In a hysterical rendition, she recreated the "Jet Song," complete with New York accents. 

In 2003, Betty was in Elegies, the William Finn song cycle that was produced at Lincoln Center Theatre.   In Elegies, Betty sang the heart stopping song "Infinite Joy," but in this show she sang "Venice."  If she had sung nothing else at all for the whole night, this would have been enough. 

However, the absolute highlight of the evening for me was the suite of songs she sang from Sweeney Todd:  "Not While I'm Around/Johanna/My Friends."   Betty is known for her song interpretation and even teaches classes on the subject.   I almost felt as if I was at a one woman production of Sweeney Todd, between her acting and the lighting.   My heart was pounding after her "My Friends."  I could not help think that if anybody ever decided to revise Sweeney again, Betty would be perfect as the razor yielding barber.  

Almost every time I hear Betty in concert, I'm introduced to some new song.  While I always want to have her rendition in my collection, I usually settle for the original version.  I'm always grateful to Betty for the eduction she gives in Broadway or even song history and while I haven't been able to attend one of her song interpretation classes (yes, you can audit them even if you're not a singer), I like to think that everytime she's performs, I'm getting a lesson in history and even more, in how to open my heart and mind.   She gives the music as a gift - thrilling me one moment and tugging at my heart the next.  

I attended the show on Friday night with Karigee and ThtrBob, aka the Chicago Theatre Addict  - the three of us together saw Betty at Feinstein's in 2008, one of the best nights in this girl's life.   Karigee and I have continued to make a point of not missing Betty when she's in New York City.    I'll be back again with Karigee and two girls who have never seen Betty perform live - they are definitely in for a treat.  

You can also treat yourself to this show by calling 212-339-4095 or buying online via Ticketweb.  Betty's there on Tuesday nights through Saturday nights, with two shows on Friday and Saturday nights through October 29th.  

Photo by @ThtrBob

Bernadette Peters takes a little liberty with the lyrics

Yesterday, Bernadette Peters visited The View.  She's currently starring in Follies  and not only does she explain the plot, but delightfully she takes a little liberty with Stephen Sondheim's lyrics of In Buddy's Eyes.  Oh Bernadette...

A Near Collision with Bill Cunningham

When I moved to New York City, one of the first things I did was buy a New York edition of the New York Times.   On Sunday mornings, I would dive into the Style and Arts sections.  I was immediately fascinated by the collage of pictures of "ordinary" New Yorkers called On the Street by Bill Cunningham.

In 2010, a documentary about Bill Cunningham was released and I finally watched it a couple of weeks ago.   It's a fascinating look at a simple man who has spent his life behind the camera.  He has lived an life on the periphery of glamour, focusing more on the beauty of fashion than celebrity, and ignoring his own wealth and comfort.  He's quite a character and is easy to spot in his royal blue jacket, which he wears every day for ease - he gets these jackets from Paris as they are the regular uniform of Paris street cleaners.    Yet, despite that recognizable uniform, I never saw him until this morning.

This morning, I was at 59th and 5th Avenue coming to work and I almost collided with a man who ran past me.  I soon realized he was Mr. Cunningham.  He was chasing after a leggy Fashion Plate going into our building (Estee Lauder corporate headquarters are located in my office building and their employees are quite stylish).   He passed me on his way back - I'm not sure if he captured the shot, but he was grinning ear to ear and I'm sure my face mirrored his.   Needless to say, he didn't take my picture, but still, my day was made.

Facebook Fan Night at Follies

By simply clicking a like button on the Follies Facebook page, I won one of the twenty tickets awarded to fans of Follies on Broadway.  I received an orchestra ticket, a window card signed by the entire cast, and a visit with some of the cast on the stage of the Marquis Theatre after the show.  

We were twenty strangers - not a one of us knew each other.   It was fun chatting here and there with others who had seen the show in the different incarnations - in DC at the Kennedy Center, early in previews, now.   All of us were very happy - just look at our faces in these pictures.  

After the show, we were lead to the stagedoor and then on to the stage. As we filed in, we were greeted briefly by Danny Burstein, who brilliantly plays Buddy, and few of the young chorus members.

An assistant stage manager answered questions about the set  and production.  I was surprised to learn just how narrow the third catwalk is - you cannot fathom this from a view from the audience.   The actresses playing the "ghosts" are wearing six inch heels and moving on that narrow ledge!   Now, that's a performance. 

We were soon joined by some members of the cast, including the co-leading lady Jan Maxwell who plays Phyllis, Susan Watson who plays Emily, and Terri White, who plays Stella, as well as Leah Horowitz who plays Young Heidi, Nick Verina who plays Young Ben, and other chorus members.   We talked about the recording of the cast album that very day and the day before.   Jan had us in stitches about the fact that Stephen Sondheim changed one of her lyrics for the recording and that's why she flubbed the line a bit while performing that evening (she held it together and kept going, but the audience couldn't stop laughing at the look on her face).  Terri talked about the difference in recording early in previews on a new show versus later in a show like this - when she was in Barnum, she recorded a song for the album that was later cut from the show.   They all talked about the rigors of performing and the fact that they are "walking wounded."   (Truth - the dancing is FABULOUS and their injuries are not showing!)     We took a group photo and the evening was all too soon over. 

Well, before it was completely over, my young friend Tyler, a huge fan of Follies himself, was waiting for me at the stage door.   My very own Stage Door Johnny!   He took my photo with my signed window card and I signed his playbill.     I did get a chance to say hello to Bernadette Peters as well.   She was lovely as always and giggled that I won the Facebook contest - she didn't join the Facebook gathering since she had other guests and was admittedly worn out from the recording session.  

This was my eighth time seeing the show - 5 times at the Kennedy Center, once on Opening Night on Broadway and once last week with friends.  I assure you, lest you had any doubt, that I'll be going again.

Why?   Because it's a show that has everything.  The glorious music by Stephen Sondheim is merely the icing on the cake for this big Broadway show that harkens back to the shows of yesteryear.   The dream cast is a reality of some of the best ladies in the business - Bernadette Peters, Jan Maxwell and Elaine Paige.  The men are pretty fabulous themselves - Danny Burstein and Ron Raines.   Supporting troupers are Terri White, Susan Watson, Rosalind Elias, Mary Beth Piel and Jayne Houdyshell.  The rest of the cast is something special as well.  

The premise of the story is that it's the first and last reunion of the Weisman Follies at their former theatre which is about to be torn down in order to make way for a parking lot.   It's been thirty years since any of them were together, these Follies girls some of whom have continued to perform in some ways and some who were forced to give up on the business.  Ghosts of glittering showgirls ethereally move around the periphery of wings and on cat walks high above the stage, as the partygoers revel in stories of the old days.   They get to relive the old days by performing some of the old numbers.   The real arc of the tale is the two couples who knew each other in 1941 and are back at the reunion:  Ben and Phyllis; Sally and Buddy.  They have expectations of regaining something they had back then.  

A hell of a lot happens in a very short time and lives are perhaps changed.   We don't know what happens after the party is over and it's time to go home, back to reality.  And that is perhaps some of the intrigue of this story:  back to a reality that is not what any of them excpected or even dreamed.  

Having seen this production this many times and with hopes to go again,  I am still surprised at the glitz and excitement of the show.   Every moment is thrilling, and I am taken on an emotional roller coaster as these characters play our their story.    The cast is superb.  The costumes are eye-popping.  The 28 piece orchestra swells and surrounds the senses.     The entire experience is completely delightful. 

Initially billed as a strictly limited run, Follies has extended its run and is now posting a January 22nd closing.  I have already heard rumors that it may extend past that date.   It's selling out nightly and is already on track to become the first commercial success for a Sondheim show. 

The cast album will be released on November 29th, but if you pre-order via PS Classics, it will ship out on November 15th.  There's no doubt that this recording will be on a constant loop in my playlist.